Wednesday, August 29, 2007

1. Nobody Wins in a War2. I Wouldn't Treat a Dog3. Desperado4. If You're Looking for Trouble5. Travelin' Mode6. I Love You More than You'll Ever Know7. I'm On Your Side8. The Wanderer9. All I Need Out of Life

"Rebound" on Goldwax Records is back out and I quote,"Digitally Re-Mastered" with a new cover with Jim on it."... "Rebound was a stolen product from us which we never did and still do make nothing off of. It was stopped the 1st time by the FBI,and will soon be stopped again. The second side of this product was ACTUALLY taken right off of "The Black Attack" album,and on a good system you can hear the damn needle on the record! Now for the 2nd side: Alot of these songs were written by me, and are really pretty good tunes.If you are a collector of BOA stuff,you may want to try to get a copy before it's pulled off of the market for the SECOND TIME!!,but it IS a bootleg, and we will get nothing for it.I love a bunch of those tracks (and not just because they're like my children) and hate to see them done like this--but this most likely will be your only chance to hear stuff like "No Body Wins In A War",and I can't blame anyone for pickin' it up while you can. It won't be around for long , though. Use your own judgement armed with the facts I've given you." – Rickie Lee Reynolds on the iMusic bbs 2.2.2001

NDNhas been a vision for Greg T. Walker. As the founding member and seventeen year veteran of the rock group "Blackfoot", he has played to sold out stadiums, coliseums and arenas all over the world. A proven songwriter, entertainer and mainstay in the music industry, he has begun an exciting new journey featuring all original songs displaying an affinity for his Creek heritage as well as Native peoples everywhere. The writing and recording of this music was a labor of love. Check out the website http://www.4ndns.com/

Tuesday, August 28, 2007

One fascinating recording that has found its way to the community is a tape of assorted studio out takes from RCB's first album. However, these are all alternate studio takes and mixes.[1]The origination of this recording comes from guitarist Allen Collins, who had downloaded the tracks from the master reels and onto a cassette tape for home listening, which was forgotton until it was found a few years later by Collins' friend Kent Griffith. Griffith restored the tape, transferred it with Allen's permission and later distributed it privately. However, the recordings have leaked through to a more public view.This tape contains alternate takes for almost every song on the final album except for Winners and Losers. Unfortunately, some of the tracks are only piecemeal, as they came from Collins sifting through the master reels (of which they used many) to find the portions that he wanted to review outside the studio. Here is a breakdown of what's on it:

Prime Time - a brief 44 second bit of the song at the beginning of the first verse. No solo guitar can be heard.

Three Times as Bad - There are about 3 complete tracks for this one. One take features a completely different opening drum fill. Each version also has different solos.

Don't Misunderstand Me - Two little 30 second bits seem to come from a rehearsal section and have somewhat different guitar parts. The final complete track sounds almost identical to the final version with the exception of the vocals and Barry Harwood's solo mid-way in the song. The fade out also takes longer.

One Good Man - There are three complete takes for this one. The first is a longer track which features more fills during the first verse from Gary Rossington and also lacks a final fade out (and solo). It is interesting to hear the band loosely finish the track. At points on this take, you can hear Collins tweaking various tracks on the mixing board (e.g. - the dropped-D guitar on the second chorus and the sudden presence of the solo guitar at the end). The second take also features the extra fills but has a different middle solo from Rossington. The same fade out from the album version is present. Take 3 is almost identical to the studio version except for a different ending solo performed by Allen Collins.

Opportunity - One partial take comes from a rehearsal session. The sound is somewhat muffled on that take. The other full take seems to be the studio version without the various rhythm and harmony guitars laid down by guitarist Harwood.

Getaway - There is one complete take that cuts in shortly before the beginning solo fill. It features a different middle solo (where the dual clean solo would have been). You also hear Allen Collins on the final solo, trying to come up with ideas on a Fender Stratocaster, which seems to be the guitar that he used most during the studio sessions.

Misery Loves Company - There are two takes from this. Take one mainly features a different ending solo. It starts with Collins beginning the solo in the right channel and another take of it fading in on the left channel. Both sound like they were done on his Fender Strat. Take two features another different ending solo - performed by Rossington.

Sometimes You Can Put it Out - There is only a partial take of the ending of the song, following the fast solo from Allen Collins (after the end of the lyrics). This version features a different solo from Barry Harwood and the ending is more stripped down.

There is another rehearsal tape that is dated to some point in 1979, right around the creation of the band. The tape includes Allen Collins, Derek Hess, and a second guitarist, believed to be Barry Harwood. This tape showcases the writing stage of the song "Don't Misunderstand Me." On this recording you can hear Collins and the other guitarist discuss how many counts of a certain part are to be used and then you can hear the other guitarist mention how this change in count will be dictated to (bassist) Leon Wilkeson at a later time. The sound quality on this tape is crystal clear, as with the other outtakes. written by -Allansfirebird

The venerable Delbert McClinton is a legend among Texas roots music aficionados, not only for his amazing longevity, but for his ability to combine country, blues, soul, and rock & roll as if there were no distinctions between any of them in the best time-honored Texas tradition. A formidable harmonica player long before he recorded as a singer, McClinton's career began in the late '50s, yet it took him nearly two decades to evolve into a bona fide solo artist. A critics' darling and favorite of his peers, McClinton never really became a household name, but his resurgence in the '90s helped him earn more widespread respect from both the public at large and the Grammy committee.After his ABC deal collapsed, Delbert McClinton signed with Phil Walden's Capricorn Records in 1978. Second Wind was his debut for the label and was produced by the legendary Johnny Sandlin (of the Allman Brothers' Fillmore East and Brothers and Sisters fame), with backing by the entire Muscle Shoals stable — horns and rhythm section, and Sandlin on lead guitar, and Clydie King and Bonnie Bramlett leading a quartet of female backing vocalists. The recipe was right for a burning session of Southern-fried soul, R&B, and funky rock & roll. The material was solid. First there was "'B' Movie" (aka the notorious "'B' Movie Boxcar Blues" from the Blues Brothers movie in 1980) from the Delbert and Glen project that derailed a few years earlier. McClinton's own "Take It Easy," "It Ain't Whatcha Eat but the Way That Ya Chew It," "Maybe Someday Baby," and "Lovinest Man" were also on the set; each one a soulful funky groover, with "Take It Easy" being a straight-up Memphis-styled soul tune. The new arrangement of Taj Mahal/Jesse Ed Davis's take on "Corrina" shuffled and simmered the pot with a burgeoning intensity. The Allmans themselves, immediately following "In Memory of Elizabeth Reed" during their live set, could have executed this spooky, jazzed-up read of Willie Dixon's "Spoonful." The horn chart in Chris Kenner and Dave Bartholomew's "Sick and Tired" is so greasy it nearly slides off the platter. Add McClinton's harmonica to the break, and it's groove-a-licious dirty gumbo. In addition, McClinton's rhythmic delivery on Johnny Cash's "Big River" completely reinvents the tune before the set gets carried out with McClinton's Allen Toussaint-inspired "Lovinest Man," on which Barry Beckett's electric piano shines. Second Wind is a smoldering slow burn of an album and sounds as fresh in the 21st century as when it was recorded. ~ Thom Jurek, All Music Guide

Sunday, August 26, 2007

1. I Been A Mover / Turn It On2. Stone Cold Believer3. Rockin` Into The Night4. The Love That I Lost5. Who`s Been Missin`6. You`re The Captain7. Robin Hood8. Reelin` And Rockin`9. Born To Rock & Roll10. Girl From Tennessee11. Big Boss Man

Obscure classic Texas style hard southern rock album from a Florida based 3-piece.This was originally a very limited self produced LP, fans of Blackfoot take note, this one's for you!If you like awesome '70's hard rock with cool lead guitars, throaty vocals and killer production, track this down.

THE SORTA people who listen to Black Oak Arkansas are about the closest things to teenage Frankensteins in existence. They hide out in the hills of Tennessee and the Blue Ridge Mountains of Virginia, and about the only other music they play is junk like Z.Z. Top or Chicken Shack. Their parents lock 'em in their rooms along with their black lites and beer can collections, and the only time they ever come out is to rehaul their transmission or watch Slingshit Theater. In short, they represent the southern hi-energy worthless skums, fucked up on qualuudes with rotten teeth jostling around in their head

Yeeee Hawww ...........Where the hell are those Ludes at now lol - Skynfan

In 1973, Black Oak Arkansas released their fourth album Raunch 'N' Roll Live and introduced a new drummer, Tommy Aldridge. It was their fifth album High on the Hog, released later that year, that established solid commercial success by peaking at number 52 on the Billboard charts. Vocalist Ruby Starr also toured with the band during this period. Her raspy voice can be heard on the group's remake of LaVern Baker's 1957 hit "Jim Dandy," which reached number 25 on Billboard's Hot 100.

Skynfan"s trip through time

About Me

And Just a side note.The sole purpose for this Blog is Music preservation. Before time gets the best of us and the future generations are denied the chance to hear what we consider to be the best music in the world. Alot of what I post are only available on vynil and alot are bootlegs. If there is an obtainable CD of anything I post I expect you to do your best to obtain a copy of it. If you already own the cd or Album this is a great way to get a digital copy of your property. But this site is a place for me to promote the bands I love. If you find a new Band or artist that you like please support them by going to see them in concert or buying there merchandise. Thanks for stopping by my blog I hope you like it. -Skynfan

P.S. I do alot of copy and pasting also. So if you find that your review is posted here or something from your site is here and you want it removed or If you are one the Artist that would like to have there music pulled contact me @ burn_out6986@yahoo.com